June 28, 2010

June 23, 2010

Back in 2006, as OutKast was coming off a dizzying run that saw five consecutive studio albums hit No. 2 or higher on the Billboard chart, André 3000 and Big Boi announced that each would put out solo records before releasing their next joint project.

Four years and one Who's Your Caddy? later, Big Boi (né Antwan Patton) is finally ready to set that plan in motion -- and silence any breakup rumors -- with Sir Lucious Left Foot: The Son of Chico Dusty, featuring collaborations with B.o.B, T.I., Jamie Foxx, and, yes, André 3000. The 35-year-old Atlanta rapper called us to discuss the long-awaited record from a hotel room in New York City, where he was "just grinding it out, doing interviews, and having fun."How's it going, Big Boi?

Yo. What's happening, playa? What's happening with you, dawg?

Playa and dawg? Awesome.Bless you. Now, what you got for me, man?

How about if we talk about the new album? We've been hearing about it since at least 2008. Why the long wait?It's a label thing. My album's been done now for, like, over a year, but it hasn't come out due to differences of creative expression with Jive Records. The guys at Jive were gracious enough to let me come back over to L.A. Reid and do what I'm supposed to do.

You're talking about L.A. Reid, now the head of Def Jam, who originally signed OutKast to LaFace Records back in 1992.Yeah. It feels great to be back with him. To be back with someone -- my mentor -- who understands my music and gave me creative freedom.

But OutKast are still on Jive. Doesn't Jive deserve some love?You know, Jive has nothing to do with OutKast's career whatsoever. L.A. Reid signed OutKast originally, when we were 16 years old. He helped catapult our career to where it was when we were acquired by Jive [in 2004].

Hmmm…Did Reid send you a fruit basket welcoming you to Def Jam?Not this time, but for years he's been sending them to me. But no need -- it's Def Jam, man. I've loved them since I was just a baby, since the days of the Beasties and LL [Cool J] and Run-DMC. Just being part of that family now is like a dream come true, almost.

Congrats, then. The album introduces us to Sir Lucious Left Foot, one of your many personas. But you're right-handed! Yeah, but my left is my good foot. How about that? Look, the whole Left Foot thing is about leaving imprints wherever you go. When I leave a room, it's gonna be footprints of funk wherever I stepped, because I'm a soul-funk crusader.

I see. You also go by Billy Ocean. Have you ever met the real Billy Ocean?I did, a long time ago. He was real laid-back. Watching TV back when I was younger, I remember "Caribbean Queen" coming on all the time. I thought it was really gangsta how he had a Jheri curl and a glitter suit and a bow tie. That shit was so pimpish to me. I named my shark Billy Ocean.

Your what?My shark. I call it Billy Ocean. I have an aquarium in my house.

Wow. You're living in a different world than most of us. You still have the fur coat you're wearing on the cover of Speakerboxxx, don't you?Yes. It's a fox fur. I still wear it on occasion, when it's cold outside. Didn't want to kill all them foxes for nothing. I mean, shit, you might as well, you know what I'm saying?

Totally. Def Jam is calling this your debut solo record, but wasn't Speakerboxxx really your first?That was definitely mostly me. I did most of the writing on it, just like it is with this one here. SoSpeakerboxxx was a solo album as well. But because it was packaged together with The Love Below, that made it an OutKast work. CONTINUE READING...

June 21, 2010

He's been featured in Billboard, as an artist to watch for and now
Matchstik is in the middle of a bidding war between two major labels.
The winning label will have a jewel on their hands. As a rapper,
songwriter, and producer - Allen Forrest aka Matchstik, is a triple
threat who's shared the stage with Joe Budden and Sean Paul. His
indie-released single "Surina's Song" debuted in London and sold well
over 100,000 ringtones!

June 20, 2010

NEW YORK (Billboard) - Michael
Jackson'sestate
has generated at least $1 billion in revenues since the singer died a
year ago, thanks in part to a lucrative new record deal with Sony Music
and the most successful concert film of all time, according to Billboard
estimates.

Through interviews with industry experts and some number-crunching,
Billboard examines the various music-based revenue streams flowing into
the estate.

MUSIC SALES -- VALUE: $429 MILLION

Since his death, Jackson has sold about 9 million albums in the United
States, while the Jackson 5 and the Jacksons have sold about 800,000
units, according to Nielsen SoundScan. Outside the States, Jackson's
album sales for the past year stand at around 24 million units. Based on
a blended worldwide retail sales price of $11.62 ($12.30 per unit less
mechanical royalties), Billboard estimates that Jackson's album catalog
generated about $383 million in sales.

On the digital side, Jackson's songs have generated 12.9 million track
downloads in the United States in the past 12 months, according to
SoundScan. Based on those figures, Billboard estimates that the total
number of worldwide downloads is about 26.5 million units, with a value
of $34 million (net of mechanical royalties).

Jackson's ringtone sales totaled 1.5 million last year in the States,
with the bulk coming after his death. Digital ringtones sales worldwide
are about twice that stateside, which brings Jackson's global ringtone
tally to 3 million. At $2 per unit, ringtone revenue was about $5
million last year (net of mechanical royalties).

Monies generated from subscription services and digital performance
royalties typically amount to about one-third that of mobile revenue, so
Jackson's catalog probably generated about $2 million from those
streams.

U.S. digital performance royalties represent about 13% of the revenue
generated by single track downloads. Applying that rate to global track
sales, Jackson's recording catalog generated another $4.5 million from
global digital performances.

FILM/TV -- VALUE: $392 MILLION

Sony Pictures bought Jackson's rehearsal footage from AEG for $60
million. In retrospect, the price was something of a bargain. "Michael
Jackson: This Is It" was released October 28, 2009, and earned $72
million at the U.S. box office, according to BoxOfficeMojo.com, making
it the highest-grossing concert film in history.

Overseas, the film earned $188 million at the box office; of that, $56
million was tallied in Japan alone. After AEG recouped the company's
investment of more than $35 million in the canceled shows at London's O2
and the film, the bulk of the theatrical take -- court documents
indicate it could be as high as 90% -- went to Jackson's estate.

On the home video front, the "This Is It" DVD has earned $43 million in
U.S. sales, with 2.7 million units sold since its January 26 release,
according to The-Numbers.com,
a division of Nash Information Services. Nash estimates the film made
another $25 million in rental revenue.

In Japan -- where the film was also sold as part of a special "This Is
It" bundle for the PlayStation 3 -- DVD sales topped $18 million on its
first day of release; 351,000 Blu-ray copies have been sold, according
to rankings service Oricon, adding about $7 million to the total.

In terms of TV, the industry standard is that exclusive rights for
ad-supported TV costs 12% of the domestic box office for a four-year
window; this rule of thumb is in flux, however, as the length of
exclusive windows extend and the number of outlets involved in the deals
increase. In November 2009, Viacom purchased the exclusive U.S. TV
rights to air "This Is It" on its MTV and
BET family of networks -- including VH1 and Palladia, as well as MTV and
BET -- for six years. Given the additional years in the contract and
the film's box-office tally, the deal could be worth upwards of $15
million. (By contrast, FX is reported to have paid between $25 million
and $30 million for just the U.S. commercial TV rights to "Avatar.")

With its family-friendly rating, "This Is It" can be shown in all
distribution media outside of traditional theaters, including airplanes,
cruise ships and hotel chains. Licensing fees for nontheatrical
performances vary based on the movie and its potential reach and how
long it will air after it debuts in theaters, but it's generally
forecast to be about 7% of total revenue for a film. For "This Is It,"
that puts the number at $24 million.

MUSIC PUBLISHING -- VALUE: $130 MILLION

Jackson's music publishing company, Mijac, is administered by
Warner/Chappell. Based on a reported value for Mijac of at least $75
million in 2005, Billboard estimates Mijac currently has a value of
around $150 million. At that value, it generates about $25 million per
year in revenue. In the last 12 months, according to sources, that
number could have doubled to as much as $50 million.

The Federal Communications Commission has taken the first formal
steps towards tougher rules for broadband.

It asked for public
comment on three different plans, igniting an expensive lobbying
campaign by all sides.

The looming battle follows a court ruling
questioning the FCC's right to regulate internet service providers after
one throttled traffic to users.

That court ruling
dealt a major blow to a central plank of the FCC's broadband plan called
net neutrality which demands that all data traffic be treated equally.

The
five commissioners on the FCC board were split 3-2 in putting out for
public comment proposals on new regulations for the broadband industry.

'Third
way'

One of the three plans the public is being asked to
comment on, and which is favoured by FCC chairman Julius Genachowski, is
called the "third way".

This would involve reclassifying
broadband so it went from being a lightly regulated service to one with
more vigorous oversight.

In return for this tightening up, Mr Genachowski has proposed the new
classification would not regulate on how much people pay for their
broadband. It would also shy away from overseeing internet content,
services, applications or electronic commerce sites.

The other
two options include leaving the existing regulatory framework in place
or imposing the full force of stricter regulations.

ISPs, such as
Comcast, AT&T and Verizon, prefer the status quo and have come out
against the "third way" proposal.

"This is impossible to justify
on either a policy or legal basis and we remain confident that if the
FCC persists in its course - and we truly hope it does not - the courts
will surely overturn their action," said Jim Cicconi, AT&T's senior
executive vice president for external and legislative affairs.

Verizon
said the FCC's move was "a terrible idea".

By contrast, web
giants such as Google and Amazon extol the value of free-flowing web
traffic and an open internet.

"Broadband infrastructure is too
important to be left outside of any oversight," said Richard Whitt,
Google's telecom and media counsel in a blog posting.

'To the
death'

The political dynamics of the FCC board, two
Republicans and three Democrats, imply that the "third way" looks almost
certain to be the plan it adopts.

Some suspect this will provoke
more lobbying and may draw legal challenges.

"There is a very
big fight brewing and it's the carriers versus everybody else," said
Erik Sherman, analyst with BNET.com, part of CBS's digital business
network.

"There is little doubt it's going to be a right data Donnybrook and I
am not sure the consumers are winners in any circumstances. These
companies are not fighting for the little guy. They are fighting for
themselves and higher profit margins."

That view was echoed by
Public Knowledge, a Washington based public advocacy group.

"It's
a tough road ahead and the telcos are going to fight this to the
death," communications director Art Brodsky told BBC News.

"AT&T
in the first quarter of this year spent $6m on lobbying. That is one
company. One quarter. Compare that to Google which spent $4m in the
whole of last year."

The Computer and Communications Industry
Association said the "third way" option is the only realistic option.

"Without
deliberate FCC action, consumers, entrepreneurs, small businesses and
non-profits will be left completely powerless against the corporate
commercial interests of their unregulated internet access providers,"
said Ed Black, association president. SOURCE

June 19, 2010

Somalia-born singer/MC K’naan
is playing a major role in bringing the world’s eyes and ears to
Hip-Hop.

With his ode to patriotism “Wavin’ Flag” chosen as the theme song for
the 2010 FIFA World Cup, K’naan performed the song in the games’
opening ceremony last Friday (June 12) in Johannesburg. This year’s
World Cup Games is expected to be the most watched event in television
history, with each game is expected to draw in more then 125 million
viewers.

“I wanted [‘Wavin Flag’] to be a reflection of what
the World Cup really means to people around the globe. When I finished
performing, you could still hear the whole stadium singing my song,”
K’naan tells VIBE during a brief intermission from the World Cup tour.

As a child, K’naan remembers soccer as a huge part
of his adolescence. Growing up in a country where futbol is the
number one sport and form of recreation, the opportunity to be a part
of its most prestigious tournament is more than K’naan could have ever
imagined.

“It was the first World Cup game that ever took
place in South Africa and my ticket said 1A.,” Knaan says. “I’ll
never ever forget that—it was my one and only baller moment [laughs]."

With the spirit of Bob Marley
living through the song's uplifting melody, “Wavin' Flag” has been
embraced as a call for unity among the World Cup’s international
audience. K’naan recalls receiving support from artists all across the
board, including the Canadian phenom Drake.

“[Drake] was telling that me he appreciates me
bringing Hip-Hop into the homes of people who otherwise wouldn’t have
listened. He just recognized what I was doing,” K’naan says of the
encouraging words that Drake passed along to him during a joint
televised interview.

As the whirlwind of performances and media
obligations grows more demanding with every game that's played, just
keeping up with the World Cup’s grueling schedule has been a challenge
all in its own for the leading musical performer. K’naan offered a few
tips for those in who plan on attending the 2010 World Cup, “You need
ear plugs, plenty of water and be prepared to stay up for days because
after the games over—people go out all night and then do it all over
again. It doesn't stop!”

The final match talkes place on July 11, and it's
projected that over 715 millions viewers will tune in, surpassing the
record set in the 2006 World Cup Championship. —Mikey Fresh

June 17, 2010

Pau Gasol, struggling from the line all night, made two free throws to push the Lakers' lead to 70-64 with 4 1/2 minutes to play and the chants of "Defense, Defense" could result in hearing loss.Paul Pierce answered that with a fadeaway to make it a four-point game.Kobe Bryant, usually automatic in these situations, then missed the first of two free throws before making the second. Kevin Garnett, on a pass from Rasheed Wallace, put down one of the few dunks in this game on the next possession.

The Lakers continue to push the ball inside and draw fouls, and Gasol returned to the line with 2:47 to play. He made both to get the lead back to five.

After swarming defense led to a miss by Wallace, the Celtics fouled again and sent Gasol back to the line. He made one of two, 74-68.

Boston's turn at the line, Pierce this time.
Two free throws later, the lead was down to four.

Gasol then backed down Wallace and dropped in a bucket to give the Lakers a 76-70 lead and produce a Boston timeout. The Lakers are feeling a second straight NBA title.

Fourth quarter, 5:21 remaining: Lakers 68, Celtics 64

It didn't take much time for Boston to call a timeout. Kobe Bryant made two free throws, then sank an 18-foot jumper -- the one thing the Celtics didn't want to see -- to give the Lakers a 68-64 lead.

Bryant is only six for 22 from the field, but has 20 points. Boston clearly didn't want to allow the Lakers to get the crowd any more into the game than it already is.

Fourth quarter, 5:56 remaining: Celtics 64, Lakers 64

Kobe Bryant went to the line for three free throws after being fouled by Ray Allen. At that point, the Lakers were only nine for 17 from the line, but Bryant made all three to cut Boston's lead to one, 59-58.

Allen then came right back and sank a baseline jumper. The Lakers' offensive juggernaut, Ron Artest, then drove across the lane for a bucket and a foul with 7:29 to play and he tied the score. The Lakers' crowed sounded like it had been transplanted from Oklahoma City.

Allen briefly quieted things by drawing a foul, but enlivened things when he missed the first of two free throws. He made the second and Boston was back on top by one.

Both teams are playing with a lot of emotion, diving for loose balls and playing tight defense inside.

The Lakers' free-throw problems continued when Gasol missed two free throws for the second time tonight, failing to give the Lakers a lead when he had the chance. He is two for seven from the line.

Allen had no such problem, making two with 6:29 to play to push the tentative lead to 64-61.

But Derek Fisher, who had just returned to the game, canned a three-pointer shortly thereafter and the score was suddenly tied.

SOURCE: BALLERSTATUS.COM ~ Ready to train your eardrums again? Today we bring new mixtapes by
both Cee-Lo and Christian Rich, an interesting new duo that is
being mentored by Pharrell Williams. Chamillionaire, Nappy Roots, Rakaa
and Mickey Factz drop new music from their upcoming albums, while Paul
Wall throws in a remix by Travis Barker. Enjoy these tracks, as well as
two days of rest and relaxation.

Christian Rich - The Decadence (Mixtape) - Listen Here
Up-and-coming duo Christian Rich have hooked up with Clinton Sparks,
Mick Boogie, Billionaire Boys Club and Ice Cream to drop The
Decadence, a new mixtape which finds brothers Kehinde and Taiwo
Hassan tossing out old concepts to bring fans a new musical sensation.

Cee-Lo - Stray Bullets (Mixtape) - Listen Here
A 14-cut mixtape on the verge of the new album Lady Killer.

By Alaina L. Lewis Does there ever come a time in a Black persons life when their love
for their culture can go from a respectable pride to taking things
overboard?

Yes.

Not too long ago… matter of fact it was just yesterday, I got
together with some friends to have an adult discussion; a casual meeting
of the minds, coolly shared over some cheap wine and the soft spins of
Boney James and Dwele.

Things were going well until a friend of a friend, who shall remain
nameless, turned a healthy discussion on a plethora of topics, into a
full-fledged war against anything he considered anti-African, or not
Black enough to deserve consideration.

You know the type: only rocks the fist t-shirts, wears his fro
proudly, (like most of us naturals do) and only listens to
conscious music, because everything else is ear poison. They’ve dropped
their slave name, cause they’re no ones “Toby.” They believe everything
is a conspiracy for the White man’s gain. They rant and rave about the
death of the Black man every time they see an interracial couple. And
any issue that doesn’t come full circle with the Black existence, is a
waste of time and keeps us from getting ahead in America.

To put it plainly… their love for being Black is an uncomfortable
extreme and has gone from being a welcomed presence, to a perfect reason
for you to either run or plug your ears.

Now, before any of you start in on me, or even form your lips, or
your key pads, to accuse me of being a reverse racist, or a self-hating
African American, I’m only examining an issue, not ridiculing anyone for
their love for Black Pride.

I too… am proud to be an African American, but let’s all face it…
there’s a thin line.

No. You can’t equate an afro with defining extreme Black Power, nor
does listening to hip hop, or reciting slam poetry at the Black coffee
house mean you’re an extreme Black Nationalist. But… there’s a serious
difference between the celebration of our culture, to feeling the need
to define your life and everything you do or say, solely by your
Blackness.

The individuals I’m referring to, are the perfect poster children for
the ideology that if it isn’t Black, wasn’t made by a Black person, or
has no relation to Black people in general, then it’s not worth anyone’s
energy and is likely taking up valuable time that could be spent
discussing important Black issues, and building awareness for “The
Cause.”

Not everything we as Black people discuss, has to trigger a pro Black
response. Not every topic we examine, has to be coupled with a spoon
full of strong nationalist medicine. Yet time and time again, many of us
feel the need to push the envelope with our Blackness, by trying to
reaffirm our pride to the world within our actions and our
conversations.

We can love ourselves and still pay homage to our heritage, without
having to push our pride on others like it’s the world perfect drug, or
the solution to every problem.

Not every relevancy in the world has to be bookended by “the cause,”
or centered on Black People and Black Issues.

When you have to constantly push color politics through every
discussion or impose and promote your Blackness 24/7, then you’re
forgetting one important factor… we’re people first, and our color
should come there after. SOURCE OF THIS ENTRY

Do you think there such a thing as being too
extreme with Black Pride?

By Arlice Nichole Planning a girlfriend getaway this summer? Ditch the travel agent (and
her fees) forget expensive tours and excursions. Together you and your
girls can plan the ultimate trip yourselves. Check your destination’s
city website for interesting events happening in and around town. Then
check the websites of the spots you’ve planned to hit up for discount
and coupon information, theme days and free days. Don’t forget ladies
night at bars and nightclubs. Those are just about everywhere!

June 09, 2010

Is a signature project of the Black AIDS Institute, in partnership with leading Black organizations and other partners. It is supported by the Black AIDS Media Partnership under the Greater Than AIDS campaign.
Join the movement to help end AIDS. Be 1 of the million-plus Black Americans who will get tested before the next National HIV Testing Day - June 27th, 2010.

June 08, 2010

Reporting from Boston -- Paul Pierce was wrong. The Boston Celtics
weren't going to win the NBA Finals amid a blizzard of green and white
confetti … if at all.

The Lakers made sure of it Tuesday with a pointed defensive declaration
in Game 3, beating back Boston in a 91-84 victory with unlikely star
Derek Fisher, a stunning reversal by Game 2 protagonist Ray Allen and,
near the end, a rare smile from Kobe Bryant, as telling a sign as any
that the series had tilted in the Lakers' direction.

The noise level at TD Garden was nonexistent, if that's ever possible,
after the Lakers took a 2-1 lead in the best-of-seven series. Game 4 on
Thursday and Game 5 on Sunday are also in Boston, but the Lakers
regained home-court advantage despite Pierce's late proclamation in Game
2 that the Celtics "ain't coming back to L.A."Of course, the Lakers could now finish the series in Boston, but that's
another story for a different day.

There's also a stat Lakers followers can tuck in next to them at night:
Since the Finals went to the 2-3-2 format 25 years ago, the Game 3
winner has taken the championship 10 out of 10 times when the series was
tied at 1-1.

Fisher had 11 fourth-quarter points, including the play of the season
for the Lakers, taking a defensive rebound, dribbling past a sleepy
Celtics defense and getting fouled after making a layup. He made the
free throw, giving the Lakers an 87-80 lead with 48.3 seconds to play on
their way to their first playoff victory in Boston since Magic
Johnson's "junior skyhook" in 1987.

The series was suddenly in the Lakers' control, the play leading to a
quick celebration from Bryant, an all-business type these days. There
was also an emotional catch in Fisher's voice in a TV interview
immediately after the game. CONTINUE READING...

Said Fisher, a while later: "I love what I do and I love helping my team
win."

By ANDREW
BARKER- Midway through his lubricious 90-minute set
at the sold-out Staples Center on Saturday night, neo-soul troubadour
Maxwell momentarily silenced the feminine squeals that had been raging
throughout the show, and addressed the men in attendance on the intended
function of his music: "I'm just the appetizer," he told them, implying
that they were responsible for providing their dates with the main
course afterward. Such was the brazenly babymaking design of the night,
and even if some of the man's musicianship was lost in all the
seduction, he certainly accomplished what he set out to do.

Opening
with the tellingly-titled "Sumthin Sumthin," the 37-year-old
Brooklynite wasted little time establishing a mood, looking sharp in a
retro gray suit that seemed to further elongate his sticklike frame.
With his reedy tenor confident and his falsetto impeccable -- though
now colored by a pleasant hint of raspiness -- the crooner
effortlessly nailed songs primarily culled from last year's
"BLACKsummers'night," his critical and commercial comeback after
spending most of the past decade on hiatus.

His nine-piece band
was solid though occasionally a bit bombastic on the beefier tunes
("Help Somebody," for instance, quickly devolved into a muddy vamp).
They seemed far more comfortable retreating into the background to allow
their frontman to work his mojo on slow grooves like "… Till the Cops
Come Knockin'," which seemed to suit the singer's intentions just fine.

Of
course, even the most expert come-on can be derailed by too much
forwardness, and Maxwell ran that risk on occasion. R. Kelly-penned hit
"Fortunate" was embellished with some genuinely X-rated adlibs, and an
otherwise effervescent cover of Kate Bush's "This Woman's Work" hit a
strange snag when the singer interrupted the falsetto-driven,
emotionally wrenching second verse to deeply intone, "I wanna be your
baby's daddy."

These loverman gestures were ravenously received,
of course, and it could be an interesting endeavor in micro-sociology to
study spikes in the local birthrate nine months after Maxwell's visit
to a particular city.

Yet when it all came together, as it did on
exquisite show-closer "Pretty Wings" -- Maxwell's finest song, and
surely a first-ballot contender for the Slow-Jam Hall of Fame -- it
was impossible to deny the soulman's mastery of mood, and difficult to
reckon how the music world managed to get by without him for so long.

Opener
Jill Scott stuck to an equally boudoir-oriented theme for her set (even
decorating her stage with silhouetted go-go dancers in lightboxes),
although she tempered it with an appealingly grounded persona. Blessed
with a wildly expressive face, onstage ease, and a Puccini-strength
soprano, Scott was all heart and little flash, a fact best illustrated
by her refusal to indulge in wardrobe changes. SOURCE:VARIETY.COM

June 04, 2010

When asked about the criteria for choosing artists,
DJ Amen commented, "We searched for artists who, despite having little
to no radio play, have a strong presence and the potential to be the
next big thing locally, and hopefully beyond." With growing national
recognition for artists like DaVinci and international buzz for artists
like Nio Tha Gift, KMEL's choices echo a growing consensus from the
global hip-hop community on who will be the next generation of stars
from Northern California.

KMEL has been instrumental in launching the careers of other Bay Area
greats like Tupac, MC Hammer, E-40,
and Too $hort. The station's Freshmen list is likely
to follow in this tradition, by tipping off record executives and media
outlets nationwide to Bay Area acts they should be aware of. DJ Amen
will host a media mixer on June 17th at SOM in San
Francisco to celebrate the list and allow the press to become more
familiar with these rising stars

Bay Area based record labels Interdependent Media and SWTBRDS,
who both have artists on the coveted list are pleased with KMEL's
commitment to supporting local talent. Says Interdependent Media’s
Ian Davis, "The Bay Area has always had a strong rap scene and
it is always growing. Every so often we have a wave of new artists who
come out and leave their mark. This latest batch selected by KMEL,
including our artists Moe Green and TRUTHLiVE, are some of the most
exciting, creative, and talented artists to hit the scene in some time.”
SWTBRDS artist DaVinci adds, “To have a major radio station like KMEL
support me is immensely humbling and motivating because we are as indie
as it gets, we don¹t have deep pockets; we just have ears for making
good music and market ourselves well.”

While the labels that represent The Freshmen see the marketing and
commercial potential of inclusion on the elite list, some artists are
simply proud to receive the honor. “Its a blessing. You remember
listening to 106 when you were just a kid, and then to hear yourself on
that same station... its unexplainable. I just appreciate people like DJ
Amen, the people at KMEL, and everybody else involved for taking notice
to what I got going,” exclaimed San Francisco based rapper Roach Gigz.

The Freshmen list is another benchmark for KMEL which celebrated 20
years of urban programming in 2007. The Clear Channel Communications
company was instrumental in popularizing the Bay Area's "hyphy"
movement in the early 2000’s, and is the longest tenured urban station
in California. Fans can request their favorite Freshman by logging on to
http://106kmel.com/pages/equest.html

DJ Amen notes a sampler containing music from all the Freshmen will soon
be available on the following sites:

LOS ANGELES — This was the type of game Lakers Coach Phil Jackson relishes, in which Kobe Bryant is not employed as an escape valve with the ball in his hands and the outcome on his shoulders. Bryant picked his spots — a free throw here, a layup there, 3-pointers everywhere and even a couple of dunks from his 31-year-old legs — as if he were leisurely leafing through a magazine while his teammates steadily bludgeoned the Boston Celtics, 102-89, in Game 1 of the N.B.A. finals Thursday at Staples Center.
In the span of two years and on the heels of one game, the more aggressive team in this matchup was decked in gold, not green, thanks to the addition of Ron Artest, the inclusion of Andrew Bynum and two years of Pau Gasol’s bad memories.
Bryant finished with 30 points and emptied 14 of them in the third quarter, as the Lakers outscored the Celtics, 34-23, in that quarter to break the game open. Entering the fourth, the Lakers enjoyed an 84-64 lead and four of their starters had scored in double digits. Derek Fisher, the other starter, had 9 points.
“We got it from different places,” Jackson said. “Guys chipped in at different times, helped us out.”
Redemption weighed heavily on both teams before momentum swayed strongly in the Lakers’ favor. Even the Hollywood fans got up out of their seats whenever Bryant finished off an alley-oop or Gasol topped off a fast break.
“Just being aggressive and tonight I got the benefit of the whistle,” said Bryant, who also had seven rebounds and six assists, while making 9 of 10 free throws.
The performance served notice to a Celtics team that had beaten the Lakers in 2008 to win their 17th N.B.A. championship. In those finals, the Lakers never held a series lead. Gasol was deemed soft in the interior against Kevin Garnett and Kendrick Perkins.
On Thursday, Gasol amassed 23 points and 14 rebounds.
“I knew it was going to be physical, that’s a given,” Gasol said. “This being our third consecutive finals, we understand the nature of the game.”
In one telling sequence in the third quarter, Gasol turned around for a hook shot and bumped into Perkins, while the ball careered off the rim. Gasol grabbed the rebound and gained his composure before missing again and scooping up the shot and elegantly laying it in.
“If you heard what you couldn’t do for two years, you’re probably going to come in and try to prove that,” Celtics Coach Doc Rivers said.
Bynum did not participate in the 2008 finals because of an injury but was effective Thursday, three days after having fluid drained from his right knee. He and Gasol outrebounded Garnett and Perkins, 20-7. CONTINUE READING

September 2012

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